A balloon on the breeze by David Lovrien. For woodwind quintet. A melancholy little French waltz. Waltz. Grade 4 (advanced). Full score and set of parts. Duration 3:25. Published by Lovebird Music (LB.127).

Homage to Normandy by David J. Long. For Concert Band (Flute 1/2, Oboe, Clarinet 1, 2, 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone 1/2, Baritone Saxophone, Bb Trumpet 1, 2, 3, F Horn, Trombone 1/2, Baritone, Tuba, Timpani, Percussion 1 (bells, tam-tam, chimes, snare drum), Percussion 2 (snare drum, ). Grade 3. Score only. Duration 8:05. Published by C. Alan Publications (CN.03001).
"Homage to Normandy" is a tribute to all the soldiers who lost their lives during the Battle of Normandy in the Second World War. The first movement, 'Elegy: For All of the Fallen,' is a beautifully powerful chorale that builds to a glorious climax before calming again. The second movement, 'In Resolution: Toward the Final Victory,' captures the brute force of the battle and drives all the way to the end in this fitting homage.

Subsaharan Rhythm by David Gillingham. For Concert Band (Flute/Piccolo, Oboe, Bassoon, Clarinet 1, Clarinet 2/3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Trumpet 1, Trumpet 2/3, Horn 1/2, Trombone 1/2, Baritone, Tuba, Timpani (4 drums), Percussion 1 (bongos, 2 cowbells, vibraphone). Grade 4. Score only. Duration 5:15. Published by C. Alan Publications (CN.03151).
Sub-Saharan Rhythm attempts to capture the spirit and emotion of the music of the sub-Saharan countries of Africa by incorporating three folk songs that are indigenous to this region: "Maiwe," "wateh eh" and a "Liberation Song" which I acquired from a documentary film on Mbira and African music. The piece requires some "extras" from some of the wind players in the form of clapping and singing.

With Heart and Voice by David Gillingham. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, 2, 3, Bass Clarinet, Contrabass Clarinet, Alto Saxophone, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, 2, 3, F Horn 1/2, F Horn 3/4, Trombone 1/2, Bass Trombone, Euphonium, Tuba, Piano, Timpa). Band Music. Grade 4. Score only. Duration 9:00. Published by C. Alan Publications (CN.05321).
With Heart & Voice was commissioned by Apple Valley High School Bands, Scott A. Jones, director (Apple Valley, Minnesota), to commemorate the 25th year of existence of this high school. Apple Valley High School's strong commitment to the arts was a major factor in my decision to take on this commission. After visiting the school in December of 2000 and meeting many of the students, faculty, and administrators, I became greatly inspired.Thematically, the work is based on the Apple Valley High School Alma Mater, an old Spanish hymn which has made its way into most church hymnals under the name of "Come, Christians, Join to Sing." It is perhaps fate that this hymn, a particular favorite of mine, happens to be the tune used for the Alma Mater. Christian Henry Bateman wrote the words for the hymn in 1843 and the first verse contains the line, "Let all, with heart and voice, before his throne rejoice." Hence, the title, With Heart and Voice. What better way to celebrate 25 years of this great high school than with our "hearts" and "voices." The "voice" in this case is the music and the "heart" is the emotion that the music renders in celebration. Although the work is largely celebratory in nature, it begins with a feeling of reticence and apprehension, much like the beginnings of Apple Valley High School. It was at one time only an idea or perhaps only a sketch in the mind of the architect. Small fragments of the Alma Mater are heard in the opening moments of the piece. The piece gains momentum, texture and volume in this opening section culminating in a dramatic statement of the first four notes of the theme. A calmness follows and a lyrical flute solo enters. This new material represents the uniqueness of the "mission" of a new school which will have roots in academic excellence and commitment to the visual and performing arts. The euphonium echoes the flute and soon more instruments join in and the section culminates with a dramatic fanfare. This is followed by a transitional section with much dissonance and rhythmic activity, equated to the challenge of bringing life to this new school. A glorious statement of the Alma Mater follows signifying the dedication of Apple Valley High School, twenty five years ago. The ensuing section begins as a fugue with underlying unsettling rhythmic activity in the percussion. The obvious reference of this section is the challenge-maintaining the goals and mission of the high school. The section becomes frantic and desperate, but soon subsides into peacefulness. The peacefulness is stated by the marriage of the "Alma Mater " theme and the "Mission" theme. . .after all, for the High School to survive, it must never forget its mission. An extended finale follows which celebrates both themes in playful, joyful, and dramatic exuberance.

River of Four Reflections by Reber Clark (1955-). For Concert Band (Piccolo/Flute 1/2, Oboe, Bassoon, Bb Clarinet 1, Bb Clarinet 2, Bb Clarinet 3, Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, Horn 1, Horn 2, Trombone 1, Trombone 2, Trombone 3, Baritone B). Grade 3. Score only. Duration 5:00. Published by C. Alan Publications (CN.05281).
The river referred to in "River of Four Reflections" is the river Cardoner which flows through the small town of Manresa just northwest of Barcelona in Spain. Above the river is a cave especially celebrated in Manresa as a place Ignatius of Loyola lived in retreat for awhile. On the floor of the entrance to the cave has been constructed a mosaic of a sunflower, inscribed with the words (in Spanish) "He Turns Toward the Sun." Loyola began developing his Spiritual Exercises here, which comprise four weeks of retreat and meditation. It is a classical, and practical, manual of Western thinking and writing.- Reber Clark.

Chamber Symphony No. 2 for Bassoon (Bassoon Feature). By Daniel McCarthy. Arranged by A. Dancy. Chamber Ensemble. For Solo Bassoon, Chamber Winds & Percussion (solo bassoon, flute, oboe, soprano saxophone, clarinet in Bb, bass clarinet, bassoon, horn in F, percussion (maracas, temple blocks, suspended cymbal, tam tam, bongos, castanets, triangle), marimba (4.5-octave), double bass). Medium difficult. Score only. Duration 16:00. Published by C. Alan Publications (CN.05861).
Chamber Symphony No. 2 for Bassoon and Winds was commissioned for Barrick Stees by the Michigan State University Bands, John Whitwell, Conductor. This piece follows the format of McCarthy's Chamber Symphony (No. 1) for Marimba and Winds, a virtuosic composition for solo instrument and chamber ensemble that has more musically involved accompaniment than implied by the term "concerto."Daniel McCarthy met Barrick Stees as a colleague at the Interlochen Summer Arts Festival (Interlochen Arts Camp, Interlochen, Michigan) in the summer of 1995. Since that time, McCarthy and Stees have worked together on numerous recording and performance projects - most recently, the recording of another commissioned work of McCarthy's by Stees, All the West Was Moving (Centaur Records: Barrick Stees and The Arianna String Quartet).For Chamber Symphony No. 2, McCarthy prefers the multi-movement format, six movements of varying lengths. Similar to some of Beethoven's late string quartets, McCarthy uses two shorter movements as introductions to others, namely the two "Interludes." The outer two movements are programmatic, whereas the interior movements are much more classically conceived.Movement 1: "Stomp and Buc Dance"Having grown up in Northern Michigan, McCarthy has a special affinity for the autumn season. Several of his teachers from the Interlochen Academy (where McCarthy graduated in 1974) are avid hunters. The deer-hunting season for many in northern Michigan is sacred. One hears of the so-called "deer camps" where hunters have wild parties (far enough from their hunting sites as to not "spook" the animals).McCarthy imagines Deer, Buck, and Elk parties at the end of hunting season, when the animals, after another season of successfully avoiding the hunters' bullets and arrows, dance wildly around their own camp fires, drinking deer-beer and mocking the hunters in the dim fire light.Movement 2: "Interlude""Interlude" introduces a softer, darker, less humorous music than the first movement. It offers a transition to a much less programmatic third movement in comparison to the first.Movement 3: "Mechanique""Mechanique" is a study in angular intervals for the solo bassoon. The rhythmic animation in the solo with the motoric doublebass and marimba accompaniments give the music a mechanical sound that is (perhaps) associated with an etude.Movement 4: "Interlude: Creep"The second "Interlude," this time with the subtitle: "Creep" is inspired by the second movement of J. S. Bach's Suite No. 3 in D Major (Air on the G String). The inspiration for this interlude is textural: a long, sustained melody in the treble above a punctuated, quasi-jazz pizzicato bass and marimba bass line that "creeps" and crawls its way beneath the ensemble. It is the only movement without the bassoon solo.Movement 5: "Static"A somewhat improvisational, rhapsodic sounding piece, "Static" is a study in repeated notes and fast tonguing for the wind instruments. The "static" repetition of pitches creates a percussive effect that is juxtaposed with a mosaic of wide-interval motives.Movement 6: "Fire, Dance, and Wahbekanetta"This movement, like the first, is about wild-eyed, nocturnal parties in Michigan's northern wood. In 1969, the composer attended the National Music Camp as a trumpet player and later, the Interlochen Arts Academy from 1970-1974. He later joined the faculty of Interlochen Arts Camp in 1995. McCarthy was born very near Interlochen, in a small village of Onekoma on Portage Lake. The summer is the time for the composer to return to the land of his youth, a chance to escape the rigors of academe, to be with friends. Memories.

Orpheus in the Underworld by Jacques Offenbach (1819-1880). Arranged by J. Bishop. For Full or String Orchestra (flute, oboe, Bb clarinet 1, Bb clarinet 2, bass clarinet, bassoon, F horn 1, F horn 2, Bb trumpet 1, Bb trumpet 2, trombone, tuba, violin 1, violin 2, viola, violoncello, bass, timpani, percussion (3, players) (snare drum, bass drum, crash cymbals)). String Music. Grade 3. Score only. Duration 2:50. Published by C. Alan Publications (CN.06601).
Here is a strong arrangement at the medium-easy level that offers you all the excitement of the original! With cues given to cover all the wind parts, this really can be done with strings only or as a full orchestra. From the mysterious opening, to the "Can-Can" dance, to the big finish, this one has it all.

Chamber Symphony No. 3 for Clarinet. (Clarinet Feature). By Daniel McCarthy. For Solo Bb Clarinet & Chamber Ensemble (Solo Bb Clarinet, Flute, Oboe, Bb Clarinet, Bass Clarinet, Bassoon, F Horn, Bb Trumpet, Trombone, Tuba, Percussion 1-2 (crotales, suspended cymbal, low tom, timbales, bongos, temple blocks, finger cymbals, maracas, timpani, shaker), Piano, Violin I, Violi). Medium difficult. Score only. Published by C. Alan Publications (CN.08601).
Chamber Symphony No. 3 was written for the Cleveland Chamber Symphony and clarinetist Kristina Belisle. This is the third work by McCarthy titled "Chamber Symphony" written for a soloist and chamber group. The term is used instead of "concerto" due to a more virtuosic approach to the ensemble writing so that ensemble and soloist are intimately involved. Chamber Symphony No. 1 for Marimba and Winds and Chamber Symphony No. 2for Bassoon and Winds are recorded on Klavier Records by the North Texas Wind Symphony conducted by Eugene Corporon. The six movements were written during a dark period of the composer's life involving several family deaths and deep personal struggle. The second movement, Holy Ghost, is a remembrance of McCarthy's mother, a strong woman of faith who died in the summer of 2002. A Voice in the Dark depicts the reality of living with the specter of those who have passed. TanzMusik, a lively dance movement, is perhaps a bit sarcastic. It is about trying to dance the lively dance in the midst of profound doubt and struggle.

Awakenings by Kimberly Archer. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon, Bb Clarinet 1, Bb Clarinet 2/3, Bb Bass Clarinet, Alto Saxophone 1/2, Tenor Saxophone, Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2, Bb Trumpet 3, F Horn 1, F Horn 2, Trombone 1, Trombone 2, Trombone 3, Euphonium, ). Grade 3. Score only. Duration 5:10. Published by C. Alan Publications (CN.08161).
Awakenings was commissioned by the Proposed International Center of New Music at Central Michigan University. Directed by David Gillingham and Nico Schuler, the ICNM is dedicated to the creation, performance, and research of new music in piblic schools, private schools and universities.In keeping with ICNM's mission, Awakenings exploits a 20th century tonal system not commonly found in the repertoire for younger bands: the octatonic collection. Also known as a "diminished" scale, it is a series f alternating whole and half steps. totaling eight pitches. Common in the music of Bartok, Stravinsky, , and Messiaen, as well as in jazz improvisation and film scores (including Danny Elfman), the appeal of an octatonic collection lies in its unusual combination of available sonorities.

Keep Silence by David Gillingham. For Concert Band (Piccolo, Flute 1/2, Oboe 1/2, Bassoon 1/2, Bb Clarinet 1, Bb Clarinet 2/3, Bass Clarinet, Eb Alto Saxophone 1/2, Bb Tenor Saxophone, Eb Baritone Saxophone, Bb Trumpet 1, Bb Trumpet 2/3, F Horn 1/2, F Horn 3/4, Trombone 1, Trombone 2, Bass Trombone, Euphon). Maestro Band Series. Grade 4. Score only. Duration 8:00. Published by C. Alan Publications (CN.09631).
"Keep Silence" is a fantasy for band to the tune known as "Picardy," a French carol melody. The tune is found in most Protestant hymnals with the words taken from the 4th century liturgy of St. James. The fluctuation between minor and major tonality and the fluctuation between awe and wonder reflected by the words make this hymn particularly attractive. The fantasy attempts to show a broad range of mood from wonder and mysteriousness to awe and celebration.The work begins mysteriously with ascending and descending D-Aeolian (natural minor) lines in the clarinet which give way to the hymn tune presented by solo flute, solo muted trumpet, and bells. The modal passages eventually lead to a transition leading to a presentation of the hymn by the trombone choir accompanied by anxious sixteenths in the flutes, clarinets and keyboard percussion which are based on motivic material from the hymn tune. The timpani interjects some dramatic statements between phrases. This leads to a rather aggressive statement by the brass which doubles each note of the opening motive of the hymn and diminishes the note values to sixteenths. This leads joyously to G-flat major. The volume dramatically decreases and steady sixteenths in the bells and vibraphone accompany the hymn tune played by solo flute with an obligato by solo oboe. The harmony of the hymn tune changes significantly in this presentation, creating a sort of heavenly atmosphere. The aggressive sixteenth notes of the previous transitional section return quite suddenly and grow into fanfare-like majesty and segue into a presentation of the hymn that is predominantly in C-major. The section grows to a pinnacle, modulates to F-minor, and returns to mysteriousness. Muted trumpets present the aggressive transition material in ethereal fashion along with the vibraphone while the low brass and woodwinds play the hymn tune in plaintive somberness. At the end of the tune, the remaining brass burst forth with the transition material and lead to one final statement of the penultimate phrase of the hymn in F-major. A coda follows with brass and woodwinds playing the first and second phrases of the hymn. The brass then begin a sort of benediction loosely based on the penultimate phrase of the hymn followed by euphonium solo on the final phrase, followed by muted trumpet on the second phrase and ending with alto saxophone on the first phrase--the reverse order signifying a return to the reverence of the beginning.